Topic: Stealth tips - how to stealth?

[PG1Tapes]

Okay, so I'm a taping newbie.  And I've never really stealthed before.  I'm getting some equipment soon to build a rig (CA11s>CA-UBB>Sony PCM-M10).  I was wondering how I would stealth this into a venue. 

Thanks, PG1Tapes!

[faninor]

Mail them to me and I'll meet you inside the venue.

Or check here: http://taperssection.com/index.php?topic=141347.0

[twatts (pants are so over-rated...)]

Everything you need to know to be the Master at Stealth:

http://tinyurl.com/597yzz

Terry

[achalsey]

might want to start with "step 2"   

[fmaderjr]

People here are very sensitive about publicizing their stealth techniques where people who want to stop stealthers could read them, which is why the replies have not been helpful.

What is generally done here is to ask if anyone could send you a PM with suggestions. 

[stevetoney]

While due respect is given to the stealthing community, it helps to respect and understand that lots of people stealth for the purpose of getting around band and venue taping policies.  We don't necessarily openly promote that practice, although people know it happens.  That said, lots of people prefer keeping their taping 'low profile' even at gigs that are open taping.  So there are also 'legal' stealthers, so to speak. 

So take it FWIW, openly discussing methods for promoting getting around band and venue policies can get some people riled up.

[PG1Tapes]

That said, lots of people prefer keeping their taping 'low profile' even at gigs that are open taping.  So there are also 'legal' stealthers, so to speak. 

So take it FWIW, openly discussing methods for promoting getting around band and venue policies can get some people riled up.

That's kind of what I was going for.  I feel like having a massive rig would get in the way of actually enjoying the show.  Plus, I want to tape Primus.  And there have been so many discrepancies between the venue and the band during this past summer tour that the best way to get in my gear is to stealth. 

[stevetoney]

It's fairly typical when you're starting out to want to stay low pro.  Most of us are pretty shy when we start out.  That's reasonable, but frankly I found out later that there's no reason to be because pretty much all tapers started out with the same anxieties.  You overcome those if you target recording bands that allow taping (so you don't have to worry about whether or not you'll be discovered) and once you realize that the other tapers that are there are normal dudes and, since we all started out with basic rigs (very few people start out with high dollar stuff) we empathize and most people reach out to newbs for that reason.  After awhile, you get to know the other tapers and those or the people you really end up preferring to hang with, since you've got some common goals during the gig.

What I found out is that once I started taping open with mics up on a stand, not only did my recordings improve because I minimized crowd noise and mic movement, but I enjoy the show much more because once you get the stuff off your body, you can move around the venue, talk to your buds, go get a beer, take a pee, and most importantly DANCE your ass off when the mood strikes.  I probably wouldn't be going to shows anymore if I were still stealthing, but that's me.

[acidjack]

^^ Steve speaks the truth. 

I used to think the same way, and I used to stealth all the time.   But now I really *hate* stealthing. The standing still. The not being able to say a single word.  The fact that if I move my head, the recording is affected. The fact that a jackass talking next to me will DEFINITELY be on my recording.  It really isn't fun most of the time, and it results in really shitty tapes a lot of the time, too. 

Nowadays most bands other than the really big major label stadium type bands (your U2s, Kings of Leons, that kind of thing) will pretty much let you record if you just ask nicely. 

Open taping is better for your enjoyment and better for your friends, since you can still (within reason, of course) talk to them, have some beers, etc.  And it goes without saying that your recordings (generally) will be infinitely better.  That's not to say that you can't (and I have) make a killer FOB recording with mics in a hat or whatnot - but those pulls are harder to get.

The additional set up time of running open is a pain, and you have to be more respectful of the venue and their wishes, but that's all fine by me.  I like going to a show and feeling like what I'm doing is appreciated or at least sanctioned, rather than like I'm some sort of shady character trying to scam somebody.

[Belexes]

I need to stealth because most of the shows I attend will *never* allow open taping.  Geez, the last show I was at was ZPZ.  At some shows, if I don't tape, no one else will.  It's hit 'n' miss as to if I get a good recording or not depending on many factors either in or out of my control, but at least I get something to remember the show by.

[stevetoney]

I need to stealth because most of the shows I attend will *never* allow open taping. 

No doubt. 

My earlier comment was only directed at people that might stealth solely out of lack of confidence or shyness, which I think we probably all had when we first started.

I also know from my travels outside of the US and from what people say here that open taping has really only become more generally accepted here in the US.  It's still assumed almost everywhere else that if you tape a band, you're doing something bad...stealing or something.  Obviously, that paradigm still exists in alot of venue's in the US and with alot of people too.

[ArchivalAudio]

might want to start with "step 2"   

I agree with #2
from the ninja link

Never publicize that you are a ninja. A ninja must be able to function as a spy, which means that you cannot reveal your status as an aspiring ninja, or else no one will trust you. Do not dress like the stereotypical ninja. The black outfits that most people associate with ninja are a construct of Kabuki theater (although this has not been proven), in which ninja characters were disguised as prop handlers (who always wore black to minimize their presence while moving props on stage).[2] When you do wear ninja clothes, the idea is to never let anyone see you in them.

[rjp]

But now I really *hate* stealthing. The standing still. The not being able to say a single word.  The fact that if I move my head, the recording is affected. The fact that a jackass talking next to me will DEFINITELY be on my recording.

Stealthing works better with classical and related genres, where the audience is expected to remain quiet in the first place. Stealthing at a club would indeed suck...

[acidjack]

^^ Quite true.  Also, and partly for that reason, I think an HRTF recording of classical or jazz from a good spot in the room can be particularly pleasant.  Whereas such a thing with most rock music is often a mess.

[faninor]

^^ Quite true.  Also, and partly for that reason, I think an HRTF recording of classical or jazz from a good spot in the room can be particularly pleasant.  Whereas such a thing with most rock music is often a mess.

I like HRTF recording for rock music... while it's true there are likely more obstacles to deal with at a rock show, I think saying it's often a mess is a little much. You're at the mercy of whoever's operating the soundboard -- but their goal is to make it sound good in the room and as long as they're achieving that then there's a chance to pull off a good HRTF recording.

Here's one I did a year and a half ago for example. I didn't get there early enough to get exactly the location I wanted, but I think the results were still pleasant (which is my typical experience). I would say this recording was a bit above average for my binaural recordings of rock music with this equipment thanks to the pretty good but not perfect location. www.bringbackthesun.com/Escape_Artist.mp3